Hard to believe these tranquil post-rockers were once drone-metal progenitors. They still drone, but by now Dylan Carson's guitar tone seems to owe more to John Fahey than to Tony Iommi. Like its 2011 predecessor, this 2012 sequel comprises five relaxed, mostly instrumental, chamber-folkish mantras that reverberate in layers, and twang more than they swing. In "Multiplicity of Doors," Lori Goldston's cello and Adrienne Davies' trap kit take center stage, and 11 minutes in you finally detect some distortion. Two songs later, in "The Rakehell," there's the merest hint of heavy blues.